Three stunningly great pieces. Gloria is a great original in the maverick mould, far less celebrated than she deserves. Here are massive, complex, works that live out of great simplicity - clouds of sound, predominantly formed from moving skeins of glissandi, all proceeding at strictly calculated and different speeds and in different directions, not wilfully but organised in canons and fugues (not that you can hear them as such in the roiling mists). Number 1, also known as Music on Open Strings begins with all the strings tuned to a pentatonic scale. The primary melody can then be played with maximum resonance of the natural harmonics. In the course of the second movement, the orchestra retunes while playing, arriving, eventually, at a mass canon of glissandi. Number 14 for string orchestra and tympani employs strings tuned a quartertone apart in a sea of glissandi out of which a spectral version of a C19 New England lamentation emerges, followed by a reworking of a dissonant composition by William Billings made even more dissonant and, finally, a tritone melody played over parallel quartertones and Brownian glissandi. Number 7 shifts to a full orchestra, with prominent percussion. Like nothing else